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British black art : debates on Western art history / Sophie Orlando ; translated from French by Charles La Via.

Contributor(s): Publication details: Paris : Dis Voir, [2016].Description: 127 pages : illustrations (chiefly color) ; 22 cmISBN:
  • 9782914563765
Subject(s):
Contents:
Chapter I: British Black Art. 1. Making an Art World: The Thin Black Line(s), 2011 -- 2. Official Narrative: Modernism and ModernityA Social Reading of Artists -- 3. The Hegemonic Artistic Canon and the Emblematic Works of British Black Art. -- 4. From Social to Postcolonial Critical Reception: the Example of Handsworth Songs (1986). -- Chapter II. Deconstructing and Rethinking the Positions of 20th Century Western Art. 1. Lubaina Himid, Freedom and Change. What Status Can Be Given To Pablo Picasso's Return to Order in Black Feminist Art? -- 2. Eddie Chambers, Destruction of the National Front: A Debate on the Artistic Medium within American Modernism. -- Chapter III. Artistic Tactics and New Internationalism. 1.Rasheed Araeen: The Critical Turn From Jheel Park (1974) to Paki Bastard (1977) -- 2. Portraits of Artists as Black Person -- 3. Conceptual Shifts and Deconstructions Tactics from 1980s to 1990s: Sonia Boyce Versus Sarah Lucas -- 4. The 1990s: New InternationalismA Reassessment Of Universalism? -- Chapter IV. Political cultures of the British Artistic Scene. 1. Punk Pop Rococo: British Cultural Motifs Embedded in the Practices of Chila Kumari Burman -- 2. Shared Political Cultures from Race, Class, Gender to Blackness' -- 3. Chila Kumari Burman's Critique Of Blackness. -- Conclusion -- Bibliography.
Summary: The conditions of development of British Black Art are tied up with a social and cultural history of Europe, especially the anti-immigration policies of Margaret Thatcher and their consequences, such as the Brixton riots of the early 1980s. British Black Art suggests new narratives about canonical artworks of the British Black Art movement, such as Lubaina Himids 1984 Freedom and Change; Eddie Chambers 1980 Destruction of the National Front, and Sonia Boyces 1986 Lay Back Keep Quiet and Think of What Made Britain So Great, interrogating their critical agency from an art-historical perspective. These artworks, art historian Sophie Orlando argues, imply a critical analysis of Western art history. This volume introduces readers to an important, long-marginalized movement and recontextualizes it with ground-breaking scholarship. This study offers new narratives of emblematic works of British Black Art, analysing their critical force within Western art history, and how it stems from the relations they weave between the tools of cultural studies, British Black feminism, and cultural politics and the specific tools of artistic creation
Holdings
Item type Current library Collection Call number Status Date due Barcode
Book Book CGLAS Library Yellow 709.410904 ORL (Browse shelf(Opens below)) Available 08860

Includes bibliographical references (pages 120-127).

Chapter I: British Black Art. 1. Making an Art World: The Thin Black Line(s), 2011 -- 2. Official Narrative: Modernism and ModernityA Social Reading of Artists -- 3. The Hegemonic Artistic Canon and the Emblematic Works of British Black Art. -- 4. From Social to Postcolonial Critical Reception: the Example of Handsworth Songs (1986). -- Chapter II. Deconstructing and Rethinking the Positions of 20th Century Western Art. 1. Lubaina Himid, Freedom and Change. What Status Can Be Given To Pablo Picasso's Return to Order in Black Feminist Art? -- 2. Eddie Chambers, Destruction of the National Front: A Debate on the Artistic Medium within American Modernism. -- Chapter III. Artistic Tactics and New Internationalism. 1.Rasheed Araeen: The Critical Turn From Jheel Park (1974) to Paki Bastard (1977) -- 2. Portraits of Artists as Black Person -- 3. Conceptual Shifts and Deconstructions Tactics from 1980s to 1990s: Sonia Boyce Versus Sarah Lucas -- 4. The 1990s: New InternationalismA Reassessment Of Universalism? -- Chapter IV. Political cultures of the British Artistic Scene. 1. Punk Pop Rococo: British Cultural Motifs Embedded in the Practices of Chila Kumari Burman -- 2. Shared Political Cultures from Race, Class, Gender to Blackness' -- 3. Chila Kumari Burman's Critique Of Blackness. -- Conclusion -- Bibliography.

The conditions of development of British Black Art are tied up with a social and cultural history of Europe, especially the anti-immigration policies of Margaret Thatcher and their consequences, such as the Brixton riots of the early 1980s. British Black Art suggests new narratives about canonical artworks of the British Black Art movement, such as Lubaina Himids 1984 Freedom and Change; Eddie Chambers 1980 Destruction of the National Front, and Sonia Boyces 1986 Lay Back Keep Quiet and Think of What Made Britain So Great, interrogating their critical agency from an art-historical perspective. These artworks, art historian Sophie Orlando argues, imply a critical analysis of Western art history. This volume introduces readers to an important, long-marginalized movement and recontextualizes it with ground-breaking scholarship. This study offers new narratives of emblematic works of British Black Art, analysing their critical force within Western art history, and how it stems from the relations they weave between the tools of cultural studies, British Black feminism, and cultural politics and the specific tools of artistic creation

English translation of: British black art : l'histoire de l'art occidental en débat.